Painting a Realistic Landscape - Paint with Ryan

[Music] today we are going to grab our acrylic paints and begin on a settling summer view we will be using a fair collection of brushes and a 9 by 12 inch canvas board as per usual all of said tools will be listed in the video description and now i'm going to begin by applying some ultramarine blue paint to our palette then we will add some titanium white followed by a little bit of mars black from there i will grab my one inch flat headed brush as it is great for mixing however before we grab any paint i am going to dip the bottom third of my brush into a little bit of water and wipe off the excess making it simply damp not wet and this will help the paint stay wet for a longer period of time with that if you would like help with the drawing process or color matching i will have the traceable and the reference photo up over on patreon and there will be a link in the video description but with that let's jump into it [Music] so we're going to begin with a fairly limited palette here and i will grab quite a bit of our titanium white then head over to the ultramarine blue grab about one fifth that and we'll start mixing that together creating something very consistent i don't want portions to be a little bit more blue a little bit more white i want it to be a very unified pigment and once i'm happy with that i'm going to create a second little area on the palette this time i'm going to add another one-fifth that ultramarine blue just making a slightly more blue variant and then i'll test them on my reference photo to ensure i have the colors i want for the sky the more blue version is going to go on the top the less blue version is going to go near the bottom where more light is going to be shining through and i actually really like our first attempt here so we're going to head over to our canvas now and start applying that lighter blue to the base of our horizon predominantly with horizontal strokes and as you can see the flat headed brush fantastic for working on skies because it can just carry and deliver so much paint so so quickly really relieving when you're working with acrylics and the slightly faster dry time so that is something i'm working on i do start with the horizontal strokes but then i move into an x-shaped pattern just to ensure that i can move the paint upwards as well and then i smooth it out yet again with that horizontal stroke but once you're at about that middle portion in the sky i'm going to switch over to our darker blue and start applying that right on top going to do so relatively quickly just so it doesn't dry with the bottom portion i want to be able to blend the two and you can see that i'm doing that right here by moving my brush very softly between the two pigments and i'm doing it very softly because if you apply a lot of pressure with your brush you're going to end up with something fairly streaky you're going to see the brush strokes in the canvas and some of you may want that that is an artistic styling it is a choice however i do want something a little bit more smooth and realistic so i'm going back and forth again with that ease and i even take some of that lighter blue that we previously worked with and applied that right back towards the area where they connect just in case the darker blue on top does become a little overwhelming you can always work backwards and that's exactly what i do there then once all of that is nice and blended i go towards the top towards the corner and we just start filling in those areas and i wanted to wait to do these to ensure that that middle portion that blend was as nice as it could be because that really is the hardest part i would say of the sky just getting that very nice gradient in the middle and then doing the rest is fairly simple because at this point we don't really have much of a gradient up towards that top right hand corner but all of that i think went exceptionally well and now it's time to start working on our clouds which you can see right here on the reference photo now for this i'm going to want a new pigment and i'm going to take out some burnt sienna going to apply that to our palette and i'll be using a round pointed brush as it doesn't have any sharp edges now much like the last mixture i am going to begin with quite a lot of our titanium white and then i'll grab about one tenth that in burnt sienna taking off the excess as i really don't want this to be too saturated i'm trying to warm it up but not necessarily make it vibrant and to continue with that idea i'm also going to desaturate it a little bit with that 1 10th mars black as well and then once i have something that is warmer but not saturated i'm going to take that and we'll head back over to the canvas now i'm going to apply this predominantly initially in the center of our drawn on clouds and i'm doing this because when you have new paint it's going to be very opaque you're going to have an abundance of it and creating a gradient starting with you know something that's thick going to something that isn't is rather difficult because you just have too much paint to work with so i apply the abundance of paint towards the center of a couple clouds then once my brush starts to run out of paint i go back towards the edges work in a bit more of a circular motion and blend it out i really want the center of the cloud to be nice and thick nice and opaque and then it to become very transparent as we move off towards all of the sides i think that generally renders a really beautiful looking cloud i think it best matches what we have in the reference photo and so this is my general strategy for working on these it's also worth noting that the brush is a little bit damp so that i can get those semi-transparent applications but that because it's damp i will have to go back in towards the center of a lot of these and thicken them up now i know i'm going to get a lot of questions as to how i actually drew the clouds on i just used a little bit of white conte spelled c-o-n-t-e and it's great because generally it comes off with water and unlike a charcoal or graphite it doesn't run the risk of diluting your pigment but with that here you can see i'm also starting to create some really small clouds and i'm doing that just by pressing less hard into the canvas you know when you apply that pressure the bristles expand you get a larger application but when we go in with a very soft touch we can get really tiny clouds like what i'm currently working on right there and i'm also continuously going back you know adding water or taking it off depending upon how well i need to blend everything but it's a lot of very soft taps around these edges right now just to ensure that i don't have a very firm hard look and that we get something that does look you know nice and fluffy you can you can still see the blue of the sky showing through a lot of those clouds but once they have an opportunity to dry we do go back in towards the center with some nice thick paint doing predominantly the same thing but you can see with the largest cloud that i really didn't start that blend process i just i realized i had too much paint on my brush to do so so i started to take that paint apply it in a bunch of different areas and then that's something we can go back to once that paint has dissipated on our brush and we have a bit more control now also worth noting when you're going in and doing this next layer you probably don't want your brush to be too damp because if you apply too much water to a certain area you can kind of start to rip paint off while it's still wet and i didn't want to run that wrist so i was you know just kind of drying my brush on the paper towel and ensuring that it was the right amount to do what we need to do and once we have all of the larger clouds implemented i do just go in with some little taps and work on some nice complementary clouds for all of the areas surrounding it just adding to those leading lines and general directions now we're going to look back to our reference photo and notice all of the very subtle horizontal clouds that we have down towards the base of our horizon to render these we are going to be using the same pigment that we used for the clouds above it's predominantly that titanium white a little bit of mars black a little bit of burnt sienna for the warmth and i am starting in the middle area of the clouds then as the majority of the paint has left my brush i start to take that pigment in the middle and blend it upwards slowly allowing it to dissipate and ensuring that i do get something semi-transparent we want to ensure that our clouds have depth and really realistically the best way of going about that is through two different avenues the first is to incorporate those gradients and sure that portions of it are much more thick than others but also by adding in the smaller clouds small clouds show that larger clouds are in fact large you often want smaller subjects in a piece when you want to notice the scale of something just so you have that just position and that is something we are focusing on here so you notice that i do quite a lot with the larger clouds but then i also do these smaller little ones that trail off and they don't always connect there are portions that kind of stop and then start again and they're also not straight lines they kind of move up they're a bit jagged it's very loose in the application and if you find that your clouds are starting to look a little too robotic a little bit too predictable something you can do to loosen up is actually hold your brush farther back and it's going to eliminate a level of control ensuring that it's harder to do exactly what you want to do but that's actually a great technique to loosen up and ensure that your applications remain varied so if you do find that your clouds are just looking a little stiff start holding your brush farther and farther back until you get to a place that you are comfortable enough with but also you just don't have enough to control to continuously do the same thing i i think it would be awkward to see two clouds that look the exact same in a singular piece so do just try to instill that diversity in your work now here i'm going back and i'm thickening up some portions of these smaller clouds but not all i want that diversity i want to ensure that some look farther back and often if the cloud looks more semi-transparent it's going to look farther back so that's again just another way of instilling the depth despite the fact that we are only working with a singular pigment when we were working on the actual sky we had two different blues to create a gradient and then you know create that illusion of depth with the clouds we have not mixed a second color so all of that depth needs to be done strategically through the natural gradients which we can create through opaque and non-opaque pigment and also again just general size so this right here again a lot of fun simply because clouds can't really be wrong and there's a lot of just fun artistic choices i'm trying to follow the reference photo for the most part and just kind of let that guide me but i'm also not letting it handcuff me i'm deviating when i feel i should deviate because while a reference photo or actually painting out in nature will give you the most realistic view of something it doesn't mean that it's going to be compositionally the most correct and recognizing that you can make those changes is important here i'm trying to create some smaller clouds which lead up towards the clouds towards the top right hand corner and that way i have a bit of a movement it feels more connected we ensure that again we have this more leading line ask composition and i really like that they're very subtle but i think they're a nice addition to the piece and you of course are more than welcome to add in those editions however you'd like to now we can start working on some darker clouds and we'll do so with the smaller liner brush as we do want some real detail with that i'm going to dip the bottom third of it into a little bit of water just to ensure that the pigment does stay wet for a longer period of time and we'll grab some titanium white now with this mixture i am going to be using quite a bit more of our ultramarine blue and mars black i don't want it to be significantly more saturated but i definitely want it to be darker and i do want it to have a bit more of a blue hue to it so with that you can see the original cloud pigment over to the left you can see what we're working with now and i'm going to continuously add some mars black not necessarily to darken it but to make it a little bit less blue as i don't want the background to be hyper vibrant and steal too much attention but once i have a pigment i'm quite happy with essentially just a version that's slightly darker than what we have at the top of the sky but slightly less blue more of the gray variant i'm going to start drawing on some darker clouds which are going to be in front of the larger more fluffy white-ish clouds that we've just applied and this is something that can really add a lot of depth can really make the piece look significantly more natural and it's one of those things that is initially going to look a little bit awkward i think i talked about this in literally every acrylic lesson because it's just how acrylics work you are going to bring the painting through awkward phases and we are about to enter one however you have to take it through these phases to ensure that it gets to a really nice place so with that here you can see that i start kind of with my outline just trying to figure out the shape that i want again for the most part i'm really just following the reference photo the traceable all of that but i do want to ensure that i have the right idea because i didn't draw it on so i'm just kind of looking at everything as a reference so it's not going to be exact but i do want it to be relatively close and it's also worth noting that when i did my initial white clouds i started in the middle and then i blended outwards to get the edges where with these for the most part i actually like to paint on the edges first and then i move back in towards the middle and that's because i want these to be a lot sharper and a lot more defined than the background clouds it's going to make them look a little bit closer and it's going to add some necessary form to the sky so recognize that not all clouds are painted with the same technique you really want to examine the specific clouds which you're rendering and think about the best way of going about it often again just as a general rule if the cloud is a bit more fluffy if it's a bit more distant you're probably going to want to do the center first and then work your way out but if your cloud is a bit closer if it does if you wanted to have a bit more of a sharper aesthetic start on the edges and then work your way in as i have been doing with this one slowly just building up those layers so that you do get something fairly opaque and something that is you know very much within your control as well that's often why we don't go in with a massive amount of paint initially we just have a lot more control when we slowly build up that way we can allocate different areas to be a bit darker a bit more full it just essentially offers us more option later in the painting phase and now i i've kind of completed the majority of the larger bodies so i'm doing these smaller tabs all of these little details around the edges i don't want to over complicate it i don't want it to look as complicated as what we have in the background but i do want to continue those little break offs all of those little details which will make it realistic and i'm going in with a very minimal amount of pressure [Music] now we're going to start working in the background on our tree line and we're going to do so with a new brush that being the filbert brush this one's about one-third of an inch and it's a lot like the flat-headed brush but the edges are a bit more round which does help with our blends so from there as per usual we grab a little bit of water wipe off that excess to extend the wet life of our paint but not thin it too much and we'll start adding some sap green to our palette and this is one of my favorite greens it's very natural it's not too saturated it's a bit earthy it's honestly fantastic and i'm going to mix about an equal mixture of it with our ultramarine blue then i'll grab some titanium white and just a little bit of mars black but here we're trying to make a bluish green and you can see that i'll slowly reinterject more blue the background it's going to have a lot of atmospheric reflective light it's going to have more of that blue hue too it will get more green as we move forward but do try to mix a bit more of a grayish blue green for this background base layer and it's really going to set you up to succeed so once i have something in more of the middle value not too dark not too light i'm going to start applying that right in that background sketching out the bottom first but i i really do want to hammer home the fact that the pigment that we're applying right here is a bit more of a muted blue green don't make it hyper saturated don't kind of start going all out we are going to add shadows to it so we need room to make it darker we are going to add highlights to it so we need room to make it brighter this is really meant to be a very basic rendering of our color and once i have the majority of the body on i go in towards the top with this little tapping motion just to try to get little protruding areas little pieces of foliage and clusters that stick out in rather unique ways and we don't want it to look the same as you move throughout the entirety of it so do try to have some areas that a little bit higher a little bit lower and again if you're finding having that variance difficult do just start to hold the brush a little bit farther back in that that should set you up for quite a bit of success now i'm going to pull the reference photo up on the computer again just so i can really see that detail and what we want to work with now is the darker shadows in between that tree line so i'm going to render those again with the filbert brush about an equal mixture of our sap green and ultramarine blue but then i'm also going to add another equal amount of our mars black because we want it to be quite a bit darker than our previous application this is for the really deep textured shadows and we do want to ensure that it's also fairly cool so i do go back a couple of times and add a little bit of additional blue so with that i'm going to switch over to the half inch flat headed brush and this one is very stiff bristles and that's important because we want to render just a myriad of little dots and each bristle is going to render a new application so i try to rough it up a little bit i grab that pigment that we just mixed and then with this i head over to the canvas but i do so with a tapping motion if you watched any of my lessons this is a very common technique but it's something i really believe in and i think it renders honestly the best results when it comes to foliage so we're just going in we're lightly tapping all of these darker little pieces on it um worth noting you do want your previous layer to be fully dry before you go in and do this you don't want it blending you do want these to be relatively sharp and i also blended with the other brush so that this one didn't get too much paint on it by the way you are going to want to go down towards the bottom of the tree line and do that a couple of times as it will have the most shadows now i am going to go into the reference photo yet again note all of these highlights at the top and we're going to switch back to the filbert brush because we do want to mix more paint and this one generally is ideal for that so i grabbed quite a bit of our titanium white our sap green this time significantly less of our ultramarine blue really just a hint maybe one tenth that i am going to add a little bit of mars black to desaturate it just a bit because we are still working in that background i do want to make the foreground much more saturated and so i do look for something that's brighter than anything we've worked with more saturated than anything we've worked with but still not too saturated i'm also adding in a little bit of that burnt sienna just to give it a bit of a warmer hue so that when the light hits it it feels really nice and summery then we switched to another new brush that being the fan brush and this is going to be great because it's going to render again a lot of applications very quickly much like the flat-headed brush that we just used here i'm not grabbing much paint because i don't want to condense the bristles but i go in with a tap around the tops of our branches really where we saw that light coming in and we really don't want to move it down too far because again these are larger trees at the top is going to cast a shadow down towards the bottom so we really are trying to be fairly careful with where we apply these highlights i'm also just going in with the tap there isn't any drag happening and i'm also not pressing with much pressure because i do want these markings to be as small as they can possibly be we will go in a little bit later with a different brush and instigate some real detail but right now we're just trying to feel out the general shape of our trees and apply those lighter highlights you can even see that i'm going in with some angular strokes to insinuate that some trees are protruding out they're moving downwards and that is important we don't want it to look two-dimensional we don't want it to look really flat and some of these trees are going to be closer to us than others so you can see some diagonal markings in there that are really the start of that general idea now i do want to point out in here all of those protruding areas that are cast in shadow so they're a bit more of a blue green and they're going to be really important for continuing to build that depth now i'm going to start with quite a bit of our ultramarine blue about half that of our sap green a little bit of our titanium white not too too much because we are still in the shadows but we do want it to be brighter than the mid value what we initially applied for the base layer and yet again i'm going to switch to the fan brush and start tapping this in following the general movements of the trees so again looking for areas in the reference photo or just coming up with them that are going to stick out protrude catch slightly more light than the rest of them and just continue those movements and it's worth noting that we are going to go back over all of this add in additional detail with a smaller brush and you know more of an intentional way because obviously there's only so much control we have here just don't feel like you have to overdo it now because we are going to have opportunity to add more and we're going to do so with this small liner brush we are going to make sure that it's nice and damp i'm going to take off that excess and now i'm going to go in with a slightly brighter pigment than what i used for the highlights it just has a little bit more titanium white and sap green in it but i'm actually tapping on all of these little pieces now we're essentially competing with the small markings that were created with the fan brush so we're not going to create anything that small we need to recognize that but we do want to create as small of an application each time as we possibly can so we're applying as little pressure as possible and we are continuing to try to shape the trees we began that with the last application with the fan brush but we start with the applications at the top we start to move down we allow our paint to dissipate as realistically we want the top to have the brightest application so if we start to run out of paint if it gets a little bit darker as you move down farther that actually makes sense and it will oddly give us a little bit more natural depth so that's pretty fun but there you can see i just started to work a little bit down into that middle body area just looking for areas that can protrude that can stick out enough to get light so that you know not every portion of it is cast in shadow and we get that additional depth it's a really fun process it's you know defining different areas that you know just more doable with the larger fan brush that fan brush fantastic for getting a lot of detail on there quickly getting the absolute smallest markings possible however you really do want to go back over just about all of the true notable detailed areas of the true notable highlights with a brush like this and really define and you can tell as i go over the shadow areas just how much it sticks out i think that is beautiful that is wonderful that is definitely something you're going to want to incorporate just make sure that you don't go down too too far and if you do make it very sparse and sparing there a couple stick out but not too many so now i'm going to head back to the palette and start creating some real variety i'm going to grab about an equal mixture of our titanium white and sap green then i'll take some of that move it off to the side and start interjecting about double that in our burnt sienna i want those hints of green in it but i also want a warmer more orangey hue to interject into the piece just to give it some variety then i'm also going to create more of a darker blue green and this will be great for those again highlights to the shadows within the bottom of our tree line we already applied some with the fan brush but i definitely want more so now i'm going to go in with that same liner brush and we'll start tapping in some of this nice earthy orange it's not too saturated it's not all that bright really the brightness the value is similar to that of the highlighted blues that we have in the bottom area so again not actual highlights but bright in comparison to the rest of the shadows and i'm not going to do too much of this i still want the majority of the piece to be much more green and fresh but realistically they're probably going to be different types of trees they're going to be at different stages in their lives and we want to ensure that there's some level of diversity so that if a viewer chooses to engage with a piece they find all of these little things that they wouldn't initially have noticed and that'll help keep them engaged i'm also going to go in and start working on some of those additional highlights i'm going to work in some of those little blues but we're essentially doing a lot of this so that we have more of that tapping effect throughout the entirety of it and it looks nice and cohesive now the next step is to start working on the middle ground and there's a larger body of trees we are going to begin with that middle value so not the brightest or the darkest and so we're going to head over to our palette start mixing a little bit of a test pigment i'm going to start with about an equal mixture of our sap green mars black and titanium white then once i realize that i'm actually pretty happy with that i decide to double up on just about all of the pigments that we've been using because we are going to be working on a fairly large area we will need an abundance of paint and i think that looks really nice so we are going to head in there i'm going to start with predominantly vertical strokes because a lot of the foliage is going to be working its way upwards if we still do have any of these applications show through either the darker texture layer or the highlighted detail layer we do want them to be moving in the generally correct direction so we are working vertically for the most part i'm applying a fairly thick amount of pigment i don't want a lot of the tooth of the canvas to be showing through and i'm essentially just kind of working roughly where i think all of this will be we can always go back and touch up the edges and we will with all of the highlights because realistically the tops and the side are going to be essentially outlined with a highlight which then moves in as a gradient we never actually want to do an outline in a painting but it is going to wrap itself around give it that three-dimensional look so right now we're just building in that fairly flat base before we get to the point of really having a lot of fun with it and all of the details from there though we are going to head back to our palette i'm going to grab some additional mars black work that into our previous mixture just so it's a little bit darker and i'm going to take this new pigment and start working it down towards the bottom and the far right hand side i am doing this because these areas are going to have a little bit more shadow they're going to be a little bit darker and while we are going to incorporate that textured shadow it's nice to have a little bit of it already there in the base layer though now we are yet again back to that palette doing quite a bit of mixing in this portion but here grabbing a really dark pigment more mars black than what we previously used a little bit of titanium white still just so it doesn't get too rich or saturated but i definitely want something that's darker than any other pigment we've used thus far now we're going to be applying this predominantly in these inset areas that we can see in the reference photo and i'm going to go back to the half inch flat-headed brush to do so so we are tapping it on much like we did with those distant trees i'm not applying much pressure i'm not incorporating any drag to it i am starting predominantly at the base and then we'll move our way upwards because we really do want to ensure that that base has great coverage that is where the majority of the shadow is going to be that is where the light just isn't able to get because there's too much dense thick foliage though when we do start to run out we work our way upwards and we'll redo that bottom portion a couple of times though you don't want to make it too thick on your initial pass so just start applying it and then in this second or third application that's where you look to the reference photo look here on the painting see where those darker areas are going to exist and reapply in those spots building it up though hopefully hopefully still having some of that mid value green show through even in the darker areas because it's that contrast that's really going to create a lot of that depth so continuously applying layers but never making it look flat or blocky in the process now we're going to start having some fun with all of these visually very tiny trees in the background they're actually quite large but we do need to render them quite small we'll be using the liner brush to do so and i'm going to grab an equal mixture of our titanium white our ultramarine blue and we'll also grab some mars black in there as well though that certainly isn't enough blue so i'll go back and grab a little bit more that said i will take said mixture move it off to the side grab some extra titanium white make a nice highlight for it and now we have a couple of different values to play with now when i'm working on these it's worth noting that i like to begin for the most part at the top and then i work my way down i do this because when we grab new paint when we grab new water we have the best opportunity to make the smallest sharpest application and the longer we use that pigment the longer our stroke is the less of an ability we have to execute on that successfully because we run out of paint we run out of water we probably have to press a little bit harder with our brush so where you need those sharp applications there's really tiny little markings that is where you want to begin and then as we continue down the tree the tree should get larger so we can naturally just add a little bit of pressure as we'll have to anyway it'll expand and it's just a very natural way of expanding the tree and ensuring that we don't kind of start at the bottom with a very small application then work our way up accidentally make it much larger and then in turn have to go back make the bottom much larger and on the top smaller from there so it really is just the most natural way of going about it and at this point you can see that i've now created two main clusters of trees there's a slightly smaller one inside and this is important we want to ensure that they're different that we aren't essentially creating the same cluster twice and that when we're creating the clusters we're creating them from different amounts of space between each other we we want progression we don't want the viewer to look at it and feel like oh okay i've seen that i understand that little piece i now understand every piece and i can move on to the next piece of artwork we want to keep it engaging for as long as we can and the best way is to really create diversity and we can do that through creating multiple clusters uh in different areas but with different amounts of trees that have varying trajectories right so we just want as much variance as we can have with this and it's interesting because we're using a singular value we're using a singular hue but we do have a lot of opportunity to make these different and i heavily implore you to just make sure through this process that you're doing so now the larger trees that i'm currently working on over here on the left hand side are curving in towards the water and the larger opening that we have that is fantastic it's a leading line that leads the eye into the middle of the piece it is uh naturally like that in the reference photo we got quite lucky but it is something you want to consider when you're designing your own pieces when you're working on branches recognize that you can move the majority of them towards the subject you want to draw attention to and it's just again an easy way of subconsciously ensuring that the eye goes where you want it to be so at this point i think that the larger bodies look great so we're heading back up we're doing some smaller applications trying to keep that same or at least a similar round trajectory that we see at the top of the greenery moving that down through the branches which will eventually have foliage as well and with that i'm now going to grab the lighter highlight and start working that on however i'm not going to begin at the very top realistically the majority of the tops of these will have some foliage casting shadows on it so we need to find the larger openings where that light is going to be able to come through and so we have more of the middle sections the bottom will also probably have shadows from foliage down closer to the ground so start in the middle have it dissipate as you move upwards have it dissipate as you move downwards but it's going to give you the most natural look and provide us with an opportunity to create quite a bit of depth we essentially we want that light to be wrapping around our subject and so we really want to apply it to the left hand side where the majority of the light is coming from and again go back add a couple of layers we are using quite a bit of water to thin it so we will have to do a couple of layers but i think that it's actually turning out really really wonderfully and with that i think it's time for the next step now we're going to look back to our reference photo and look particularly at the highlights on the tops of the trees we are going to make the mix for them using our smaller filler brush as it is fairly ideal for mixing and we'll begin with quite a bit of titanium white about 1 6 that burnt sienna we'll use an equal amount of our sap green to our titanium white and then also attempt to grab about a sixth of that in mars black and interject it as you can see i added far more mars black than i should have due to that i am having to go back now and add a lot more titanium white a lot more sap green another hint of that burnt sienna but the goal here is essentially to render a brighter green something brighter than what we've used previously and something more saturated as well though we don't want it to be extremely bright and we don't want to be extremely saturated because we do want room to build up on it still with that i am now heading in to the actual foliage and i'm going to try to begin on the left-hand side of all of the trees that we have in here the light is coming from that left-hand side that way you know we're going to have that like wrapping around our trees give it that three-dimensional effect but you really do want to ensure that there's a consistency with the light how it's hitting these trees and so i'm going in with this tapping effect but i'm beforehand kind of imagining the different dimensions of the tree where it's all going to be and then i only apply it here initially to that left-hand side and i think that's actually going along really well we are rotating the brush just to ensure that we don't get the same application over and over and if i feel i'm really building up a lot of paint in one area i'll move to a different area let it dry and come back to it you can see that that happened with that first area we applied it i went and i moved towards the middle and now we're going back to that farther left hand side that way we can continue boating it up without there just becoming too much paint that way it doesn't become muddy that way we don't lose those really sharp impressions that we want for all this foliage so if you do find that it's getting a little out of hand you just have too much paint you're losing that sharp form that we're creating or that we intend to create do just let that area dry come back to it in five ten minutes acrylics they just they dry so quickly it really shouldn't be an issue but just do try to be mindful of that and again if you have a lot of paint you don't have to apply it all to a singular tree you can move on over work on the left hand side of the next tree and build that up while the first area does end up drying so all things to take in uh kind of into account when you're working on it another thing is that we are going to build this up we are going to add additional highlights so try not to apply too much application to any one tree at this point because we are going to do more and you don't want to overdo it with this initial value just another thing to consider there's a there's a lot considering it's really a repetitive application but it's a thought process behind all of it and all these miniature decisions which end up making it look really really nice but with that i think it's great for our very first layer so we are going to head back to our palette now and make something a little bit brighter here yet again starting with the titanium white and the sap green we will still grab a hint of that burnt sienna and we're essentially just going to use significantly less mars black in this mixture that way it's not being dulled it's not being muted it's not becoming a significantly darker and here you can see at this point i haven't even used any mars black we're still getting a little bit of it in the mixture because the mixture underneath it had mars black in it and it's mixing in with that but now we are going to head back over to the canvas and start applying these highlights yet again towards the left-hand side of all of the protruding pieces of foliage so we are going to begin over on the farthest spot on the left of it just because that is where we're going to receive the most light but then as i do start to run out of paint i like to work elsewhere as well we are going to still have this light in the middle towards the back just because some trees are really going to stick out they aren't going to catch that shadow and when we're doing this we really don't want to cover the entirety of the previous application of highlights we only want to do this for maybe the left hand third of it and then you know in that second third it's a bit of a transition so there's a little bit but there's not much that way there's a real gradient we built the highlight up initially now we're adding the second highlight but the second highlight does dissipate showing the previous the original slightly darker highlight through on more so the right hand side of each of our trees and that's um apparently a very difficult thing to verbally articulate but i hope you know what i mean i hope you can see through the example what we're really intending to do here this highlight is great but you do want to use it relatively sparingly and it's also not our brightest highlight so don't completely fill it up as we are very soon are going to head it back to our palette with a different brush that being this little liner brush mix up something even brighter just a hint more you add a little bit more of that titanium white to the mixture but now we can go in and actually paint some individual little leaves pieces of foliage all of that good stuff i purposefully left that open area of tree to fill in a little bit later with the smaller brush because i do want significantly more control but here you can even see it being worked in to the larger clusters of foliage it is brighter it stands out nicely it's not more saturated though we do have to use quite a bit of titanium white to mix this and whenever you use an abundance of titanium white you do sacrifice some level of saturation if you wanted to retain it you could interject some yellow into the mixture and we do do that a little bit later in the lesson but right now i am really focusing on those top areas the areas that absolutely will not have any shadow cast upon them from other branches or areas these are the spots that really stick out you do not want to do this in abundance it is something that should be very much cared for it's something special it pops and it's the range of greens that's going to give us a lot of depth so yet again don't fully cover the last application of highlights or the one before it we're just really looking to cover about a third of them in the areas which will be the most bright and over here to the left you can really see just how bright this is in contrast with the sky in the clouds i think that it looks really lovely especially as we pull back and i wanted to pull back for this next portion because we are working more so in those middle trees which do protrude which will catch these highlights but we want to see it as a whole just to ensure that we're not doing too much in that little area it's very easy to get hyper focused on a specific spot in the painting and when we do get that focused it's really easy to make that one spot look absolutely brilliant look detailed look really full of life like wonderful but no longer fit with the rest of the painting either overshadowing other areas or just taking on entirely new applications and techniques which just don't fit elsewhere so it's one of those things where you may love a spot really put your all into it but it forces you to change the rest of the painting or just to completely redo it so that it fits with the rest of the painting and in those scenarios you know it really is best to just paint a little bit farther back and that really should solve things but we are now going to head over to our palette yet again and mix more of a medium to dark green something similar to the base layer that we previously applied for the larger foliage over in the mid ground and we're doing this because there's still yet another spot that being these little branches you can tell that i've already applied a little bit of our highlight to it but it definitely needed a dark base and i learned that very quickly so with that i'm going to just tap on all of the foliage here with the liner brush this brush does not make it quick it often does not make it necessarily easy to build an area of foliage however the amount of foliage we want here isn't incredibly large and what we want to do with it is very detailed i want a massive amount of control with it so while this may take a bit longer than using things like the filbert and the fan brush i definitely think it's what we want to start with that way we can still have all of those purposeful little openings in between all of the foliage i think this spot in particular is going to make this area of trees quite unique and so we definitely want to put that time in and do keep quite a few openings now here you can see i did go over quite a few of the highlights that i previously applied those really were just to get an idea of the general shape where i wanted things to be and now we can layer on this darker pigment so that a little bit later on we can also layer on the lighter pigment and continue progressing but we want all of these to be different we want them to evolve we want them to cross over with one another and i'm going to wait you know five or six minutes i let it dry and now i'm heading back in with the highlights which are the same as what we've used over in the right hand side foliage so it should all connect it should be the same values the same hues we can color match to everything that we've done before and i'm not going to cover all of our darker foliage really just what's going to hit the light and then i'm going to head back to our palette yet again this time grabbing quite a bit of ultramarine blue but an equal mixture of our titanium white about 1 4 that in mars black and my brush is about to get very very watery as you can see as i drag it out it's almost like watercolor at this point because i have a massive amount of water in there and i'm just going to do a very small wash over my distant patch of greenery here and i'm doing this because the contrast ended up being quite a bit the darts were quite dark and i didn't want it to overshadow or compete with the mid-ground of the foreground we want our subjects to progressively get starker have more contrast and so when the background is as dark as it was it can kind of hinder depth so here i'm just going in it's becoming a bit more of a blue gray which works for the background and it definitely makes that mid ground pop more that said you don't necessarily have to do the glaze this is really only something that's going to occur if you feel the background is just too dark but if your first mixture was actually of a lighter value those darker uh hues weren't that dark which is something we aimed for i just didn't make it as bright as i needed to you don't have to do that also a glaze should be thin enough that you don't end up changing any of the values for the most part you still have a lot of your line work and the edging so just make sure that if you are going to do the glaze that it is incredibly thin and it should turn out really well but with that we will get to the next mixture now we are going to start here with quite a bit of our burnt sienna as we want some variety in our foliage i'll mix that up with about an equal part titanium white again about maybe 1 6 of that mars black really not much and i also want to add a little bit of our sap green as well just to ensure that it's cohesive enough i still want it to be a bit more earthy but when we apply this you'll see that it fits fairly well within the rest of our green but it also doesn't look exactly the same which is exactly what we wanted we wanted a very subtle amount of variety i'm going to apply it in a couple of different spots though i would definitely recommend you do this sparingly initially you can always go back you can always add more and it definitely follows that general rule of it's a lot easier to add more than it is to take it away so i start by picking a couple areas that i feel are a little bit open here once you step back you can really tell it down at the bottom that we have a couple of opportunities to do this much like actually the distant area of greenery as we did add you know a fair amount of this as well it's been muted by the glaze of blue but this is definitely going to help connect the mid ground with the background and i like that a lot however what we're doing here certainly is not complete much like every other portion we are going to need to go back add in additional layers build it up add those highlights create dimension there's a lot to do but i think it's it's always pretty exciting though looking at this from a distance i would definitely recommend initially going in with something that is less saturated and then you can slowly build it up if you need to i think that the orange the rusty look that the more earthy hue would definitely succeed more so with less saturation rather than more so if you're not really sure aim for less and here we're just adding on a little bit of highlight to give it that nice wrap around effect of light that said we are now going to start working on this bottom area right here and this is a lot of fun as it definitely gives us a new element in the painting we're going to be using our 1 3 inch filbert brush about a fair amount of mars black about half that sap green and then maybe about a fifth that titanium white we do want this to be dark arguably just as dark as what we have for the shadows in the larger mid ground area of foliage but we also don't want to be the absolute darkest pigment we could mix because we still have a foreground and we want that to be more stark than what we're currently working on so do keep that in mind this is meant to be just as dark as the shadows in our mid ground trees but really not much darker than that because we still need room to continue to add that contrast that said i am continuing to just work that along the baseline of our trees and i'm trying to expand it as we get closer to us hypothetically this land that juts out and all the grasses it's actually going to be like a very similar size through the entirety of this lane however because a portion is closer to us it's going to look a lot larger right that's how perspective works that's how we create depth through subject size and so here you can see i'm slowly expanding i have a little area in the middle just to note that i do want to break this in half but i think that's a good application if it's a little thin you can always go back and do a second with that we are going to head back to our palette here and grab about half and half titanium white and sap green i'll also grab about 1 6 of that in mars black and work it in i don't want anything hyper saturated i don't want anything hyper bright we're simply going to create a base color for our taller grass i also want a bit of a highlight for it so i'll take that same mixture add in some extra sap green a little bit of extra titanium white but not too much because i don't want to risk desaturating it and we'll switch back over to the fan brush as we do want to make a lot of markings in a relatively short period of time so here you can see i'm actually working vertically for the most part i'm starting at the top with my stroke i'm working my way down again that's because generally when you go to make your application you have a little bit more control you don't have to press as hard with your brush and i'm also doing a slight start to our reflections down below and that's kind of why i created that line in between just to ensure that i have the right amount of space for it but we're even going to extend this down into the background and then we can go to the highlighted pigment that we rendered and start applying that now this is going to be applied predominantly to the tops of our previous strokes you don't have to bring it down all the way in fact we do want that middle section to be a little bit darker where it does transition from grass to the reflection but as you soon see we can go back and add in a darker application there so you don't have to worry too much about it and if you feel like you're struggling to make an application that small you can bring it down quite a bit farther and we will again just fix that up relatively shortly but i really like this i'm going over it a couple of times that way i don't essentially just have the same amount of pieces of grass the same clusters etc and we do get some extra variants i also want the grass from the background to look more clumped so there aren't going to be as many notable breaks there where in the foreground you know we can see more detail and we want to continue to show that so i'm not going to do as many applications in the front but the ones that i do are certainly going to be nice and sharp at the top we do want that very clean detail but so far so good i think that the green matches the background quite well and now i just have a bit of mars black mixed in with the green i'm touching that up in the center so right between our grass and our reflection and this is great this is just going to ensure that the grass casts a little bit of a shadow which it should because this is all very tall right it's not uh regular very clean pristine cut grass it's wild it it could be you know four feet tall so we do want to ensure that we have uh you know a good shadow happening in between and we're also going to put a little bit of dirt a little bit of a maybe a walkway something that you know can really get the imagination going so with that i do a lot of little taps go for a bit more of a blend there than i would the top and that's another technique you can do that's actually really fun in painting you make the brighter areas of the highlights the notable areas much more sharp and you make the shadowy areas a bit softer it definitely helps bring the attention to where you want it to be and it makes the shadows more ambiguous that said we are now going to add some cadmium yellow deep hue to our palette because we want to make an even brighter green but we don't want to desaturate it when we add just the titanium white while we make green brighter we make it a lot less saturated the yellow is going to help us retain a lot of that saturation here you can see i continuously go back essentially landing on a very similar amount of yellow and titanium white with a bit of our green but now with the liner brush i can actually go in and work on individual little pieces you can tell just how small these strokes are i have a massive amount well not a massive amount i have a good amount of water on the brush it's not like what we did when we did the wash we don't want it to be dripping and we do want this to be somewhat opaque but it's definitely more water than i had for the previous application and that's because i need to ensure that these strokes are very small what we applied the initial layer of grass with was that fan brush and each individual individual bristle essentially equated to a piece of grass right where here we're trying to do the same thing except it's so many bristles condensed while the liner brush is small it's certainly not as small as an individual bristle and so here we really do want to take our time take care with it i'm going to for the most part apply these highlights to the tops of the grass but i'm also going to drag them down sometimes applying a different angle when i want a piece to be really notable and here you can see it from a bit of a distance i think i think that's also important that we know just how large these are but if you can incorporate small breaks if you can incorporate little unique pieces here and there that's definitely going to aid this occasionally i'll have a singular piece kind of go on a really strange direction really strange angle kind of intersect a couple other pieces and that generally stands out in a really nice way makes it look more organic the idea of making all the grass perfect is very imperfect in this setting and scenario it really will look best if it's a little bit messy to a point as long as it's nice and sharp um and you know there there really is that attention to it it doesn't get sloppy it just gets intentionally different if that makes any sense i'm also adding some extra highlight to the area that's closest to us on the top and i do want it to be cohesive with the rest of our foliage so i'm going to apply that in the areas where the sun really does strike the foliage which i think is actually quite nice it definitely adds an extra element of warmth to it because of the cadmium yellow deep hue and it's worth noting cadmium yellow dpu is a bit of a warmer yellow it's a little bit naturally of a darker yellow it's a bit more subtle however you're also more than welcome to use something like a primary yellow or a lemon yellow lemon yellow generally looks really fantastic with sap green it won't look as warm but it'll look really fresh and bright so it's a great way of adding in keeping in that saturation as you continue to bump up your highlights without you know abusing titanium white and losing a lot of that vibrance just another thing to consider one of those one of those things where i feel like it takes a lot of us a while for it to like really sink in uh how useful titanium white can be but also how we do need to interject other colors if we want to retain how poppy a subject can be so with that here you can see i'm continuing to jump around really just trying to find the edges that again will receive the most amount of light predominantly that's going to occur on the top predominantly that's going to occur on the left-hand side of this larger piece however there are going to be a couple protruding areas in the middle towards the back that you can see me working on right now that will get a little bit of it but it really isn't much and you can tell with this shot and just how little it is in comparison to what is you know kind of going on over on the left hand side here however we are going to apply a little bit of that grass to the mid ground and a little bit to the background as well once it started to dissipate on the brush i didn't want to start there because i didn't want it to be too too bright and the more we use our pigment the more semi-transparent it'll be the more the darker layers will show through and so therefore it will become more subtle which again is important for our background and mid-ground to a point so with that i'm just letting the paint run out and i like that a lot so now we are heading back to the palette we are grabbing quite a bit of our mars black and then at least an equal amount of our burnt sienna i also want again an equal amount of that titanium white starting with a very even mixture essentially of about everything and this is mixing a nice desaturated earthy hue just so when we apply the base layer of the walkway essentially we have something we can build on it's a familiar color because we've used burnt sienna within the actual foliage above and in the background so it fits it works but it also gives us a lot of room to build up and play which is definitely what i want it also follows the same general rule that the farther away it gets the smaller the stroke should be now that we have that we are going to grab some extra titanium white some extra burnt sienna make it quite a bit brighter give it a bit of additional saturation though it's still not heavily saturated and now i'll just work on the lip of that ground the area that essentially protrudes the most and connects with the reflection as we want the back of it to be a bit darker as it will have shadow cast on it but here we are following that general rule i'm trying to do it with a couple taps and drags i don't really want to go in with a longer stroke for this application because i do want it to look like the ground kind of moves in and out i don't want it to be perfectly straight perfectly clean and i think that really does aid it quite a bit i'm also going to do a couple little tapped horizontal strokes as you can see and that just kind of implies that the light is following a certain area of land which is raised back farther into the grass it's a little detail it's not something someone would really notice and point out and be like wow i love that but it's something subtle that definitely helps the painting come together and that's really important now in this process i did end up losing more of that darker base so now we're going back in with a mixture of the burnt sienna and the mars black and i'm just darkening this area of shadow really trying to get it to be slightly darker than what we have in the shadows in the foliage which are right above it so we're just continuing that general idea but i love the way it's working and now we're going to look back on the reference photo because it's time to start working on the bottom reflection we're going to do so with the filbert brush we'll grab a good amount of our ultramarine blue about an equal amount of our titanium white and mars black we have something quite gray there but i definitely want it to have some green in it because we are painting the reflection of trees so here we go going for that mix yet again you can see the past greens and darker pigments on our palette so you know we can kind of test with everything else but i definitely want something even darker than that for the more shadowy areas so now we're going to take our brighter mix and start applying that to the background creating a nice line for our trees and we'll start moving it forward with vertical strokes actually i did the first one horizontally because i wanted a relatively sharp line but once that was done i took a lot of that paint and i started to drag it down vertically as the reflection is going to be vertical and we want this smear effect in the background especially in the water because we're not going to have a perfectly clear reflection of all of the different distant subjects they're going to be distorted they're going to be dragged visually in that water and as we get closer and closer to us as we move more towards the right-hand side of the painting that reflection is going to get a lot clearer we're going to be using much sharper applications and it's going to progress very naturally however that backing area is definitely going to be a bit more loose now here what you see is a bit of a darker mixture and this has even more mars black in it i wanted this because we are now working on the reflection of the mid ground and we're going to blend this into the background very softly i'm not going to be using a lot of pressure i don't want too much paint on when i go for the actual blended portion i'm just being as light as i can and still trying to retain a little bit of the brush stroke because that will look quite nice later on but here i think it's progressing quite well going in yet again with that soft touch you can see what is going to be a really really pretty reflection and here we can essentially just continue to take that darker pigment and work it all the way towards the right hand side now in this process i do admittedly cover up quite a bit of our initial reflection but that's honestly okay we're going to be going in with all of those colors yet again it's not something we really need to worry about what you do want to avoid at all costs you know uh is ensuring that we don't actually have any white canvas showing through so if you're getting close to that reflection you're like oh i don't want to i don't want to get too close because i don't want to ruin what i did there it's definitely worth it to go over it um with the darker pigment and just redo the highlights than it is to leave some white canvas because covering up that white canvas and not having it show through will be much much more difficult so here yet again just finishing it up and we will wait for this to dry before we start our next application but so far so good and now we do want to work on the reflections of the trees and of course the best way of going about that is by using the small liner brush as we really do need that sharp detail now i'm going to begin with quite a bit of titanium white about an equal mixture of mars black about an equal mixture of that with our ultramarine blue and i'll continue back and forth until i have a similar mix of pigment that i had initially for the trees and i'm actually working on top of my initial mixture so you can actually just mix to that provided it's still on your palette makes it really easy however it's worth noting that generally your reflections are going to be slightly darker than what is actually presented in real life so if you have a very bright blue sky you'll have a slightly less bright blue sky in your reflection it won't probably be dramatic when you have a clear reflection but it can be subtly darker if you would like to make an adjustment that said here we are going in and working on all of those tree trunks all the little branches again being very very careful with our pressure while you may feel quite confident at this point you've just gone ahead you've painted all of these trees it's looking great you know what you're doing it's very easy to get ahead of yourself in this part of the process just apply too much pressure with that brush so do take your time ensure that there is you know a fair amount of water on the brush not not so much that you know we used when we were glazing but still a decent amount and here i am also going over portions that i know are going to have foliage simply because i don't want to accidentally just create too little of these applications it'll be much easier to just cover them up then go back later and continue to add more of these branches and whatnot so i am extending them farther than what they are you know kind of presented as in the upper area but i do think it's a lot of fun and also worth noting i'm freehanding this you do not have to the traceable again it is up over on patreon uh you can use tracing paper you can use a projector you can use the gridded version to get a much better estimate of where things can be if again you aren't super confident as a freehand sketcher and as per usual i'd like to say a massive thank you to everybody who is up over supporting the channel on patreon it means a lot working on this lesson taking the time being able to do this was an absolute pleasure and in no world would i be able to take this much time to create a lesson like this if it wasn't for you and your support so thank you for providing me with the opportunity to teach and make these and i hope you really do enjoy the extra benefits like the traceables the reference photos the ebooks and all of that good stuff it really does mean a lot and i love that because of it we are we're able to make lessons like this i know i i know i say it in every lesson and i know i say that in every lesson but it's something that i always want to make a note of saying because it's just it's incredible and it's because of you and i always want you to know that i recognize that and i'm very grateful for this opportunity but thank you for uh just being here thank you for watching the lesson here we're being a bit more repetitive with the actual application so i figure i could take some time and just talk to you about what we're doing here today and just how much that means to me i hope the hope the lesson means a lot to you too and that you feel like you're learning something you're getting better you're excited to go out and make a painting it's a it's a pretty wonderful process but with that we are we are going to go back to our palette now and create the colors for the reflections of the foliage i am going to begin with something that's much more green we have a lot of titanium white and sap green in this i'm going to grab a fair amount of mars black but nothing that's really going to darken it too too much i want this essentially to have the same value as the highlights in the foliage in the background if not make it a little bit darker and then i'm also going to make the shadowy color that we used for the bottom portion of that backing a tree line as well these are again colors we've previously mixed so if you still have it on your palette you can just mix to that you can also of course just mix on the reference photo um or you know just freehand it have fun right this uh well there are a lot of technical things we can do to make things technically correct the whole process is meant to be a lot of fun that's at the core of it we're here to make something to our enjoy our day and so with that here you can see that i'm starting to create the highlighted reflections of the greens that we have above but i'm doing so with vertical strokes when i apply my brush initially to the canvas i'm applying as little pressure as possible so it's semi-transparent and then i apply more pressure as i move through the stroke and then i relieve pressure as i rip the brush off from the canvas so there's a bit of a flow there's a bit of a motion to it and i really want the middle portion to be the most opaque that way we have something that looks like it's fading in and out of the water in and out of the reflection we don't want it to be too bright close to the actual line of trees because that area will have quite a bit of shadow but what i have right here which is closest to us is going to be significantly brighter and even potentially match the brightness of what we have in the tops of the foliage in the actual trees so here yet again starting with the horizontal strokes which roughly mirror the general movements of the actual foliage so you can see that i even have some of the dips that are going down mirrored in the reflection and you can have that kind of diagonal application while also still making it vertical it just means that your vertical strokes are going to be a bit more short and that you are going to you know proceed on the angle that matches what we're doing up top if that makes any sense uh talking about you know doing things uh vertically and diagonally at the same time probably sounds a little convoluted but i believe in you and i know you can do it so that said here i'm going back in and making the markings for a lot of the grass which were covered up previously i do kind of want a little bit of that darker reflection in between the land and the grass that way we have the reflection of the shadow and if you find you accidentally do make the grass too big we can always just go back in with a bit of a darker green as you can see here and we can just reapply the darker base color for the reflection so don't worry about accidentally making it too big or you know really applying any of the following layers because while we do have to go back paint it darker and then repaint the highlights it's actually quite easy in all of these areas which is nice because i think reflections are something we all love but might not be all that acquainted with so this is a actually a really good painting to try things if it doesn't work cover it up try again that's the beauty of acrylics they're just so forgiving and here you can see that i'm working on a reflection of one of those more distant pieces of land i did a lot of those vertical strokes but i also led into a bit of a tap for the real highlights and we're going to do a lot more tapping as we move here into the foreground i want a fairly solid base layer of vertical strokes initially but on top of that we do quite a bit of building and there you can see i'm doing some tapping i want that texture in the brush to show through on top of the vertical shorts so that it's layered we have this nice reflective quality you feel like it's kind of bleeding through the water but then you also have these very sharp instances of detail and it's not so much in the background it's very minimal it'll definitely expand as you move closer to us but that's generally the technique with this type of reflection you can see that i'm working on this little piece that starts to move up and up as you move towards the right so you know in the reflection it's moving down and down i'm trying to let it dissipate into the darker shadow as we now paint upwards and this is very soft it's very nebulous in form but it's capturing the general hue it's capturing the general value while being slightly darker and on top of this once it all dries it's important that it dries so you have a little bit more control we can go in with the tapping feature and really start the beautiful mirrored effect but that isn't something we want to do just yet as we do want this transition from that reflective quality in the background to what we're building here in the foreground it's it really is quite fun again i know it's not not a subject a lot of us will be hyper familiar with but i think by the end of this lesson you'll have a very good idea of what you're doing and be confident with it for the future that's always the goal not just to teach you one painting not to just teach you this painting but to teach you the techniques how we're doing things why we're doing things that way when you're inspired by a picture you take or something you find you can go and render that as well but here you can see that there's a little bit of a break above between the two pieces of foliage so i'm trying to leave that in that little darker spot and then i'm working on this brighter area as well the brush is semi-damp it's not super damp right now and it's also not super dry i i do want some of that semi-transparent effect but i also don't mind if you can still see those brush strokes because it is a nice movement in the base layer of our initial trees that definitely also had those movements in them so it's not a bad thing to mirror here you can see that i've added a lot of green and you might even want to go back and add more shadows if yours ends up being like this but you do have that color for the shadows already on your palette and it'll blend really nicely with the greens as they are still wet and that is something you can still do while it's all wet now at this point we are going to head back to our palette and mix a is slightly a brighter green for a highlight and this is going to be for our texture as well so i'm going to interject a little bit of that cadmium yellow more of that titanium white really taking it slow with building this up but i still don't want it to be hyper saturated i still want room to grow so we did add a little bit of mars black in there that said the last application was a lot of vertical strokes and you still see that in this one but you're also going to see a nice little mix of taps trying to get some of those subtleties some of those individual little pieces of foliage showing through and that is where things begin to get special we're also going to do a tap as you can see to mirror a lot of the grass that's something that's fantastic about these foba brushes as they get a little bit older they don't have the most perfect pristine end and so when you do go in for a tap you can kind of get all of these different nice textures here i'm working on a smaller bush that you can see right above and i kind of point to it back and forth just to align myself with it and ensure that i'm getting the general areas correct again you could go on and just to draw it but i really like this i feel like it makes it quite natural and nothing looks too visually stiff either so all in all i think it's working out quite well as we get lower now in the canvas we are going to apply a little bit more pressure with our brush just to get those true highlights in there as that is where the reflection of the sun is going to be hitting because again everything's reversed but we're just slowly building it up and still leaving portions of that initial application because it is important to have that larger gradient moving through all of our subjects that said here is a bit of a farther shot and i am going to switch over to the liner brush as it's time to start working on the real details so yet again we are going to brighten it take some of that titanium white to take some of that cadmium yellow and it is mixing with the green that's already on there so i'm not going to grab any extra green as the soft green is quite strong and we just aren't going to need any extra from there i'm going to go in and tap on a quite a few of these little leaves clusters of leaves but i'm also going to do with a bit more of a horizontal stroke i wouldn't make them pure horizontal lines at this point but we do want a very slight movement in the water and a great way of articulating that and making this reflection distinct from what is occurring above is by adding that movement it's going to be very subtle but as we get closer and closer to us we can incorporate more of it and this middle area is probably going to have more of the actual reflection so the farthest area that real background that we worked on has predominantly ambiguous vertical strokes the middle section has more of the natural realistic reflection and as we get really close to us we start to take those realistic strokes and markings and turn them into something that is a bit more horizontal to show the very subtle movements in water obviously with such a clear reflection you can't have much movement but we can still have a little bit and again i think that differentiating factor is really important especially in paintings like this because it means you don't have to have everything exactly correct right if we were doing a perfect mirror of it then we need to layer everything just with such an attention to detail and this takes a little bit of the pressure off it ensures we still end up with a really beautiful painting we get an extra technique in there you get a really nice little water effect which you will see when we start adding in the blues and the reflections of the sky but for now it's something that's quite a bit more subtle ambiguous and it's something that we can build on and you know really take artistic creative steps with right it's not exactly copying the photo it's you know also having some fun with it though you can see you can see the progression of the reflection in the photo and how it does move through these essentially three different stages so it's really interesting but with that we are going to get quite a bit closer because we are working on those fine details i do want you to be able to see them and i do want to remind you that while i often advocate for painting a bit farther away so you can see how everything works together once you know that things are working well you can get up close and really focus on those details here i'm taking that new pigment and i'm applying it up into the previous actual foliage just to ensure that they do have exactly the same colors mixing and do feel quite cohesive so it gives me a little bit more room to play with our horizontal strokes and have fun with it just a little tip when the uh when the foliage on top is done it doesn't actually have to be done we can go back we can add to it and that's why earlier i was prefacing the idea that don't do too too much of the mid value or the first highlighted value or even the second highlighted value because we can always go back and often in that final 10 to 15 percent of a painting we go back and we apply a little bit to everything just to ensure that it all does work together i know that over on the uh patriotic solution facebook group there was a little joke going around about how often i talk about the need to make things cohesive the need to bring things together to share colors to integrate them in different areas so that everything feels natural and it was quite funny because it's true it is something i talk about in every lesson but if somebody walks into this channel and they are watching a lesson for the first time already it is even the first lesson the only lesson that they're ever going to watch i need to know that that is information that they're going to get because it's so beneficial and it's so good for your painting that idea that in the end you know you do go back you connect things you have different subjects share colors it really brings the piece together that said here i am working in more of those actual horizontal strokes because i am getting closer and closer to us it's also something i like to do a little bit more around the edges of the trees because it'll make a really nice transition between them and the blues of the water so that's also something to consider though i don't exclusively work with these horizontal strokes which you see me currently adding in i do go back and i add some of the actual detail as well it's really a lot of layering a lot of balancing and figuring out what you like that said i do want to let that dry so i'm going to go back into the distance and add in just the slightest hint of sunlit land right here it's sticking out from the shadows it's catching that light it's not as bright as what we have in the mid ground or foreground as you can see but it's definitely bright in relation to the other subjects around it and i think that it's a really nice addition i'm going to throw it over on the left hand side as well however i'm going to leave openings that way it doesn't feel like there's a perfect stretch and that's really nice now it's time to work on the water as you can see and we're going to be doing so with the one inch flat headed brush haven't used it in quite some time but incredibly useful versatile brush we're going to start off with quite a bit of that ultramarine blue we have an equal mixture of a titanium white maybe even a little bit less and the goal there is to grab about one tenth that in mars black now again did add slightly more blue than i wanted so i added more white to balance it out but we're essentially looking to recreate the two colors that we created in the sky and maybe make them a little bit darker here you can see i'm having some fun with the mars black and really just exploring what options we have but i do want both pigments on the palette so that i can blend them wet into wet on the canvas and that definitely makes things a whole lot easier with subjects that you want softer blends with now as we go under the canvas i am going to start with the darker pigment and i'm going to be working with horizontal strokes this is actually the opposite of what we did with the sky initially and that we started with working with the lighter area on the bottom we worked our way up to the dark and we're starting with the dark here because when it connects with all of the green foliage we want larger markings because we're closer to us on the foreground the actual movements in the water can be more notable and as we get closer to the background well that's when we really need a subtle transition and i wanted an opportunity to get warmed up first with applying the paint with this brush it's a rather large brush having a lot of control isn't always the easiest thing so i started with that just so i could kind of get those motor skills all fired up and now that i have them i'm starting to go back into the distance with this brighter mixture we will blend it with the actual darker blue and i'm also leaving a little bit of an opening right between the blue and the green just because i don't want a massive amount of pigment on my brush as i go through that blending process i definitely want there to be less so that i don't accidentally create a much larger marking with it and so here you can see going back in and now with horizontal strokes but very short ones i'm working it into the green i want it to be incredibly minimal in the background i still want the diversity and height within the reflection of the tree i don't want it to essentially be flat but i do want it to be a lot more subtle than what we're going to be doing in the foreground with the transition of the darker blues and again all of the reflections of the greenery now this again is uh going to look a little rough as we always talk about but we can make it look a whole lot better with the smaller liner brush i'm going to take the little bits of blue light blue initially and just work them into the green i don't want to go too far i don't want to do too much of this and i think through the process i actually ended up doing slightly more than what i would like and i ended up having to kind of walk it backwards i often get the question of how do you know when your painting is done and often for me i like to overdo everything just a little bit that way i've seen it when it was too little i've seen it when it was too much and then i can find that sweet middle spot right i'm never questioning oh what if i did more oh what if i did less i've seen it in every scenario and i know exactly where i want to finish it that often means going back and remixing a couple colors but i do think it's often the best way of finishing a painting and feeling wholly content with it so here again you can see that i've incorporated quite a few of these horizontal strokes i think that they're slightly larger than they should be in this current iteration and we do go in and lessen them to a point upon actually finishing the painting but right now i think that it definitely gives me a good indicator of where i wanted to go and with that we are now going to start working on the reflection of the clouds and the skies starting yet again with the brighter more fluffy variant and we are going to be building the darker clouds on top in the same way yet again we're working on that mirrored reflection it can be a little bit darker though it can be a little bit more subtle and you can tell that mine is definitely more gray here in the bottom variant than it was in the top i don't really want to draw that much attention to that area in the eye it often will go to the area of highest contrast or the brightest spot so i didn't want to kind of pull the eye in two different directions there and we're also we're going to have a lot of tall grass overlapping it and i just felt like that could just visually quickly become too much so i'm going in with something that's a little bit more subtle again just trying to define where everything is roughly i move my brush up and down just to kind of gauge general line work start and end points looking for little details along the way and then we just kind of make those applications and bring it all together now we're going to move on to part number two i was originally going to release this as a secondary video however i didn't want anyone to get confused so i essentially put the first part of the video in the second video together and now you don't have to kind of click links to find one another however i am going to do the following portion in real time so i'll actually be talking to you throughout the painting process rather than dubbing it over i know that different people prefer different uh stylings and i thought i would offer both here in the attempt to just give you as much varying information as i could so with that we are going to jump into step number two and i really hope you enjoy let's do it so here we have part two as you can see the background and mid-ground are finished we're going to work on the foreground here predominantly a larger tree as well as some really large grass and the reflection of it so with that we're going to grab our brushes grab some paint and have some fun now as for mixing we're going to begin by looking for the mid value in here so not the brightest little highlights on the leaves and not the darkest shadows but really what we find in between and i'm going to begin by grabbing some of our titanium white grab about an equal mixture of mars black grab an equal mixture of our sap green zap green is a fairly saturated pigment so you really don't need too too much to balance it out and this is all in the shadow so it's a bit cooler we'll add about half of what we've been using for everything else in our ultramarine blue but as you can see this is really quite bright even brighter than our highlights so we'll go back to our mars black double the initial amount try that and that right there is actually really nice for the highlights so i'm going to keep this on my palette we'll move a little bit of it off to the side here and yet again we'll double up in mars black and that right there is a really nice mid value it's not as dark as the deepest shadows it's obviously not as bright as our highlights so we'll mix up quite a bit more of that and jump into the canvas and i'm going to begin on the left hand side here of our tree because we have a lot of pigment and i don't really trust myself to work in any real amount of detail when i have this much paint on my brush now once i have a moderate amount i'll start to work over towards the right hand side i like to make the edges with a little bit of a tapping effect that way sometimes i have these nice little openings you can see part of the sky showing through and i'll have a lot of foliage working its way off of this but it's definitely a good start to just getting a little bit of detail in there now i am starting to run out of paint on my brush and that makes the edges a little bit more difficult to deal with though because we simply we don't want to have to apply pressure with our brush into the canvas when we do that we often make larger markings than we want to so when you do start to run out of pigment do head back to your palette and if you want to continue still working on the edge just grab less paint than what we were initially working with that said i think this is going quite well and i'll get you a little bit closer to see the details so grab more of that pigment and go in for a nice little tap you can see that each of these impressions could mark that of one or a couple of leaves and i'm being semi-mindful of my applications here i don't want to block in the entirety of it if i have that blue sky i'm going to make use of it but we do need this to come down and be quite opaque through this area to create a very natural balance and then once we have that edging done quite well we can grab significantly more paint and just block in this backing area not having to worry about ruining our clouds or our sky and yet again we'll do this from a bit of a distance simply because it's really easy to get caught up in the details of that edging trying to make it really interesting and evolving but we do run the risk of doing a little bit too much of it and the best way to ensure that it all stays balanced is to paint from a bit farther away that way you can ensure that nothing becomes too detailed or imbalanced you get a wider perspective of what's occurring and that's genuinely quite important so now we'll just work our way over here i don't have much paint left so i can actually come back up to the top start do some of this edging i'll grab a very minor amount create a little cluster of foliage that's actually sticking out from this larger one we're going to paint individual leaves but this is an easy way of starting that process and there are going to be larger areas so we'll do another one there and we'll work smaller leaves around it to connect all of these and make them look a little bit more natural now an issue i'm finding right here is that this and this are very similar try to ensure that they are different that way you don't have to diversify them by making one larger there we go that said we are going to go back and do a whole lot more with that this bottom area it's going to be interesting because we're actually changing what type of greenery we have now this area is going to have a lot of tall grass that extends upwards and downwards however i just want the main body of it right now so i'm just going to add in the areas that i know are going to be fully opaque and i think we'll bring it out to about there and then we'll have a little piece that sticks out but we'll cover up all of the white canvas and this is going to be where the grass is extremely dense we can paint in openings later but the less openings we have to paint in the easier it's going to be for us so we just want to ensure that this isn't too large that way there can be space between all of our individual little pieces of grass and we can render a lot of detail and a lot of realism now to paint our grass we are going to need a very small brush this liner brush will work great once we add a little bit of water to it and condense those bristles but with that this is exactly what we want for those really fine details so we'll grab some of that previously mixed paint and we'll continue mixing it with our filbert brush just because this one's so small it'll be really difficult to pick up a lot of paint but then we'll start making individual little blades of grass and every one or two i am going to grab some fresh water generally starting from the top and working my way down because as we run out of paint we apply more pressure with our brush and generally make our strokes larger now before i do too many of these it's worth noting that the water will thin some out to the point where you have to go over it twice that is okay and we are going to want reflections of all of these so we'll start with that as well doesn't have to be absolutely perfect because we are going to have a massive amount of these but the more clean you can get it the better it'll be there we are starting to come together and we are uh we're going to do quite a few of these it's going to be a journey but it'll be a fun one i'm applying as little pressure as i possibly can with my brush and you can see that i'm really jumping around a lot i'm not really handling a single area and then completely finishing it i like to move to a new one just in case i accidentally do the same thing over and over and create a noticeable repetitive pattern we want it to look natural and therefore we definitely need that random element subconsciously we can just end up doing the same thing too many times so i'm trying to avoid that and i find the best way of doing that is just by jumping around in the piece we're going to do a lot filling in all of it but we're going to do it at different stages trying to have them cross over one another we'll make some much taller and some shorter this area is actually going to get quite blocky but what's really going to be noticeable is the tops and so you want them to be nice and sharp and you want them to be varied different heights different widths and as you can see it's all coming together just taking some time i've had a lot of practice should have a fairly steady hand at this point if you find that your hand isn't steady by the way you can rest your pinky finger on the canvas and then paint with that it'll eliminate some shake i'm not doing that because it's a fairly small area and i don't want to cover the camera but it is something i do quite frequently so here you can see we're going back over previously applied areas and almost every time my brush goes back to the palette right before that i do grab more paint from the or more water from my dish wipe off the excess it's not thinning the paint too too much not worried about it and i think it's about time we really start moving in on this area so create some additional little strokes in the middle mirror them though you don't want to work too too quickly otherwise you can start to you know accidentally apply more pressure than you want to or apply too little pressure and end up with a granular toothy look essentially the markings on the canvas right and here we are yet again a little bit farther away just so we can ensure that we don't make things a little bit too detailed or overdone you can see all of it balancing together and i'll also show you another little trick for filling in the body once we get more of the top complete once you have a really solid foundation we can also this is fun add more bends and creases to these so i can see in the reference photo there's one that kind of comes up out of the water and then it bends all the way back down there we go little broken piece it's nice almost acts as a leading line we can do another little piece right beside it definitely unique and it definitely highlights the rest of the reflection which is important so now that we have the majority of this area worked in we're going to switch back over to our filbert brush again this one's about one third of an inch grab some of that mixed paint and we can just find the little openings at the bottom here i'm not going to go too far this way and i was hesitant to do this before before we added the actual grass because i wasn't sure how much grass you would have or how high we could make these but now that we have quite a bit of the grass we can start applying this as we have a better estimate of what it's going to look like and i can tell that this is actually going to be all filled in by how the grass is expanding so i'll just work that into the rest of this and now we obviously have some awkward tops to this it isn't fully consistent so we're going to go back to the nice little brush and ensure that all of the edging on the top and the bottom is done through these strokes again attempting to mirror them on both sides and i will get you closer yet again in a little bit i do just want to show you how it's all balancing first again the goal here is to ensure that we don't have any horizontal markings from the filbert brush and that where it becomes this larger mass isn't perfectly straight across the board we want some to go down deeper some to come up higher you'll hear me say it a thousand times in these lessons but diversity really is the key to making a piece look as natural as possible there we go i like that a lot i think that's quite neat i like that one too but we definitely have more blades of grass intersecting with it so we need to go back and add those and then at this point we get to have a lot of fun because they can start extending all the way off the canvas this is where it starts to look nice every painting has its awkward faces as does this grass section and we can finally start taking it out of said spot i'll get you a little bit closer as you finish that area up though so here we are yet again just grabbing more of that pigment and you can see how this area has kind of that chalky toothy look we want to replace all of that with little blades of grass and it's quite easy at this point because we don't have anything to mirror up at the top right so we can really just have fun with it and we don't have to worry about doing it two or three times and i say two or three times because often when we apply it we have to go back and do a second layer because we're working with so much water and it's not just a second layer on the bottom it's not just a second layer on the top it's the second layer on both generally right so different things to consider but this is definitely a more relaxed area of the painting to work on and we want there to be a gradual movement like this where mine right now is more flat and then it's that more dramatic change so i'm just going to add some extra grass to the bottom here so that i get more of the correct trajectory and that means i also have to re-add those movements up here might expand that a little bit yeah already looks a lot better might fill in a little bit of this though just for some added diversity and now we can go back and just do the little touch-up details if we'd like to either expanding previously applied pieces or applying all new ones really trying to get a lot of these final markings as sharp as i can there's very little paint on my brush right now a lot of its water and that's why i'm able to get these to be much smaller than i previously was now when i stepped back i realized that this area still actually hasn't really been completed i got so caught up in the bottom that i forgot to go and fix this so we're just going to look for the general movements down here as you can see some of those horizontal markings that were rendered with the filbert brush and you just wanted to block in this larger area by the way you don't have to do that you can just continue this process of applying grass until it's fully applied until it's you know you have that full base layer it doesn't have to be that way and there are more quick arguably efficient ways of getting it done like that a lot though so now that we've applied all of our mid values in there we're going to make an even darker one starting with our mars black little bit of our sap green maybe about one-third that our initial mixture and then the absolute smallest amount of titanium white just a hint of it to desaturate the green but with that it's definitely darker we'll go in we'll test it i think that is actually really great for the shadows so let's mix up a little bit more and then we can start implementing it into the piece again smallest amount of titanium white possible so now we'll grab a little bit of that pigment start working on the left hand side going to begin by running through about a third of it and then i'll start working my way over once i don't have a real abundance of paint on the brush and i'll just go in with that rotated tapping effect much like what we did here with the edge that way it progressively through texture looks like it's getting darker as you move to the left and lighter as you move to the right it's just a very natural way of creating that gradient and a soft gradient one where everything is perfectly blended just wouldn't have that same level of detail and this definitely adds something special to it so we'll just again start by working this right down the edge and then we work in with our tap rotating the brush so we get a different marking each time now as per usual we'll get you a little bit closer that way you can see that technique with real clarity working it out going back moving over older areas sometimes you'll even see a little bit of texture coming off and that's something you can just go over to take out but i actually really like that in the foreground of our pieces actually having something pop it's almost like you're working with oils but you don't have to deal with the dry time or the smell though it is worth noting that approximately acrylic paints when they dry they shrink to about a third of their initial wet size so all of the impressions that you see raised will get smaller and subtle but they still will stick out a little bit if you do apply an abundance that said i'm also going to now start working more so with vertical strokes as we get down into this area and i'm only going to go in the middle i don't want it to get too high and then i'll do a slight little blend up and down allowing it to dissipate there we go it's all very subtle we're not looking for anything dramatic it is these subtle layers that really build up and make things look natural right so doesn't need to be extremely high contrast in relation to what we previously applied now it's time to start working with our highlights and we actually mixed our highlights earlier i kept this area of the palette fairly clean so we would still have it and so let's remix to that it's a good little lesson on trying to find older colors as well so we look at it and we can tell that it's quite green so i'll start with a fair amount of green i can tell that it's dark but not that dark so let's grab about half of it in mars black because mars black is a very strong pigment and i can tell that that's already not too far away but this is definitely more saturated than that that definitely has more of a gray to it how do we make that more gray we add white because white and black equal gray so grab a little bit of white but not much because i don't want to make this significantly brighter than what we have there grabbed about maybe an eighth and that wasn't enough so we'll go back and we'll grab a little bit more still not as gray so we'll grab more of that titanium white it's all just small trial and error and now i can tell that it's getting brighter than what we have here so we have to go back to the mars black wipe off the excess work that in and that is getting very close still a little too green though grab more titanium white brightened it too much grab more mars black and every time we add more mars black and titanium white we progressively make the ratio of green less and less so while it looks like we're just doing the same thing over and over again every time we are in fact desaturating it and getting it closer to the pigment we actually want it to be and that right there i think looks really good i'm just going to move around and it definitely still could be more bright sometimes the first angle you have doesn't give you the most accurate reference representation of um what you're actually looking at because of how light's reflecting on it so i really haven't gone back to the sap grain throughout the entirety of this it's just been more titanium white and mars black see what that looks like i'm going to move around a little bit okay i think that's it so what's the lesson here don't use much of the sap green at all start with quite a bit of these two and then slowly interject that until you come to that but there's a brief little lesson on how we get to finding old colors though we aren't going to paint with this brush we will be grabbing the other one now for our leaves we are going to be switching to another liner brush this one's a little bit larger than the previous but any smaller brush like this should do the trick provided you're careful so now we'll grab some of that newly mixed paint and we can actually start working on the outskirts here where we're going to have lots of little leaves lots of little branches and we've already started that with the fiber brush but there's definitely a lot to be done still so with this much like everything else diversity is definitely key making small markings definitely an objective want them to overlap each other even though it'll look a little bit messy at first eventually it'll all look correct though we do want varying amounts of openings between these so we do still want that nice blue of the sky showing through here and there you can tell that the water on the brush is also making some of this quite thin which is actually really nice it looks like the light is working its way through thin leaves and giving it some extra depth it's a really natural look so you don't have to go over all of them a second time to make them nice and thick that is something you can do it's something we do with a lot of our work but this is an area where leaves can be semi-transparent and so if you want to leave it with a bit more of that watery application you can and it'll add a nice little piece to the painting i'm going to start moving in this area i'm not necessarily sure that i have as much in this as i want and you know i think i i really don't but i don't want to overdo this area by accident and then force myself to do a lot elsewhere so i'm actually going to start moving out in the painting and then we'll come back to that once we have a better feeling of how complicated we can make it without making it kind of stand out too too much because while a very detailed area can be wonderful it can also be distracting and some subjects are worth making less complex so they don't steal the attention away from other areas of painting this is a fun spot where it was very transparent i'm covering up some of the previous leaves but not all of them there we go and i want this branch to be closer in to the left than this one i definitely want this one to extend more and i'm now feeling confident enough that we can add another branch to this there we go again we'll probably still go back up to that top area but in time now it's also worth noting that i'm not just applying this to new areas of the sky i am going back over the last darker applications and i am going to work this on the inside a little bit later as well this is just the start of the process and a really fun one at that also all of your extensions all of your branches don't have to go out quite far and we've already had two that extend to a great degree so i think with this next area i'm actually going to keep it pretty close in and then we can do another extension a little bit farther down but not everything has to be really extreme in its movements so this goes out to there this goes out to there this now goes to here and then soon we will break that pattern by having something else work its way out maybe that one said i think we should probably get you to a little bit of a different angle that way you can see what the painting looks like in different scenarios because it's often not a single scenario that you end up seeing a painting people move around it people find themselves in different areas of the room and it's just good to get those extra perspectives now we'll continue with you looking here from the left hand side and i think it's rather interesting because you really don't see the difference between the new and the old color right it's really because of just where we're standing how light is hitting the canvas it really washes out a lot of those darker values and this is really important to consider when you're painting because sometimes you might be applying a pigment and it might actually have a really nice contrast with what you've previously applied but you just can't see it because of your positioning because of your light and therefore you end up doing a lot more in terms of contrast and changing those values when you really don't have to so i would heavily recommend considering where your light source is moving around the room moving around your piece as you paint it especially when you're working with a lot of darker values like that but with that said we'll put you back in a more reasonable position actually before we do so i'll grab the smaller liner brush and make that a little bit damp because i do want to work with a little bit more detail now we're going to take that same pigment that we've been working with and we'll just apply it to some of the larger grass here i have quite a lot of water on my brush so i'm kind of at the point where it's difficult to get an application that has a real opacity to it a lot of it's very thin and when you're placing dark pigment on dark pigment it's difficult to notice so what we might have to do is brighten things up a little bit because while this might be the correct color for the reference photo when it's thinned down it's not bright enough to really work on top of this in the noticeable way we need it to we are going to build up anyway that's generally how we add light and i think i think now is probably the time rather than using the liner brush we will be using our filbert brush for the mix and i'm actually going to mix on top of this right here just because we might as well use some of it and i do want to work at least directly beside it so that i have a constant reference of what we need to make brighter right so this right here already a little bit brighter i think i'm going to add a little bit of blue into it as well as you can see it's starting to dry on my palette but i think this is a nice step in the right direction there's definitely a lot of room for growth and brightness there and that's what we want if we feel like we need more light we can add to it but for now we're making subtle steps and we'll give this a try so now heading back to the painting we have our nice small little brush we have this i'm going to start probably on a little bit of the foliage on the side just to get some of this off our brush and then we'll grab a little bit more water even less and i'm going to work from the top of our grass inwards trying really hard not to make the grass any larger than it already is we don't have to do this with every blade i'm predominantly focusing on the ones that are already a little bit larger simply because it's a lot safer and if you accidentally make the top of any of the grass larger do make sure you go back down and expand the bottom as well also worth noting it's really hard to talk and paint these very very small markings so i do apologize if i take a minute or two where i'm a bit quieter and just really focused on the process i find that holding my breath for just a couple seconds when i make these throats actually really helps but i still want to i still want to talk i still want to give you as much information as i possibly can i think honestly a lot of people wouldn't mind if i if i talked a little bit less i always get comments like wow you talked through the whole thing why did you do that and it's it's just because i have information i want to share i want to help i want to ensure that you become the artist that you really want to be you learn a lot that you feel confident working on the pieces that you're working on and i feel like the best way of doing that isn't just showing you how i'm doing what i'm doing but also telling you how i'm doing it why i'm doing it i think that all of that information can be so beneficial but yeah i know i know not everybody likes the fact that these are fully narrated i know some people prefer music in the background but i feel like if you if you prefer music you can just mute these lessons and then put on your own music you know i think there are the options but with that is actually going very well despite the fact that i am still talking and i think i will get you a little bit closer so here we are nice and close you can tell that i am still trying to mirror what we have going on here and i have the line not perfectly horizontal where the grass meets the water but it too kind of moves down in this direction so i'm going over things a couple of times but i'm also leaving a lot of the darker areas in the middle there in between the blades of grass because we do want depth and if we were to paint all of our blades of grass with this pigment we essentially would just end up with something looking fairly flat we want to build up the highlights or really the darker mid values but we want to build up all of these layers and that's what's going to give us the most depth while still showing through previous players and we're going to have the grass continue into here so we'll do some longer strokes just like that try to be fairly free with them if you find that you're doing them too similarly i recommend holding the brush farther and farther back and then paint for more of a distance you lose control in your stroke but it's definitely a lot more loose and if you are kind of subconsciously doing the same thing over and over again it will remedy that issue so that's actually what i'm doing right now just to ensure that i don't end up with something that's too visually samey trying to go over previous strokes have them kind of intertwine we'll also have some that move out a lot of them i have moving that way just because i want those leading lines pushing the eye towards the center of the piece but it is important that we also have some like this that move off towards the left that way it doesn't become visually predictable and again the viewer doesn't look at it say okay i know exactly what's going on here and then move off to a different area diversity is important here we go we can also let our applications get more watery as we move this way that way they are more transparent you can see through the paint and our markings become darker visually that's a good thing because we are moving farther and farther into this area of shadow where you just won't see the same amount of green there we go liking that a lot again very watery right here barely noticeable in comparison yeah that's great and we can continue building this up we will continue building it up but it's time to take some of this start working it into the individual little leaves and whatnot that we have going on up here and i don't want to do too much down at the bottom because i want to determine how much detail and how much highlight i want at the top first so we'll just do a little bit to set precedent and to finish this transitionary area so the grass looks a little less awkward but then from there we will head back up to the top and you can see that i'm even painting this in all of the grass it's done through a lot of taps i try to have the idea of a branch coming down and then it expands and then there are a lot of little pieces on it and this is where things start exiting that really awkward stage start getting a little bit of form it's not going to be perfect we definitely will need additional layers for it to look truly natural but we're finally getting there it's really nice to see with that we are now going to head up a little bit higher and then we'll come back to this so now we're a little bit higher up and i'm not going to show the palette through this portion just because we are only going to be using that same amount of paint and there isn't much of a distance between the camera and the painting but you've essentially seen how much paint i'm grabbing that said we can continue expanding this out so a little bit of a branch essentially i can connect that to previous branches you can see it works its way through these clusters and then we'll have it break off create all these beautiful little pieces just like that [Music] i think that's a lot of fun it's a brighter green than what we've used before so you know you still have that nice progress i really like when a dense area foliage starts to reveal these really tiny pieces this is where the realism starts to occur you can also tell that i'm not always just pushing them that way a lot of them are going that way because i do want again there's leading lines but it's not all of them it's not always also just painting in a little piece right there you can have its own little spin-off break apart and we'll definitely continue expanding this area as well not to a great extent but enough so that it's visually cohesive with what we have going on up there because this area only really has those darker pigments in it and it doesn't have well it is newly mixed and when i want an area to be darker when i want to fill out the middle portion of a larger portion of the smaller portion i just grab a little bit more paint and a little bit less water makes the markings slightly harder to make at such a small piece but it's definitely worth it and you also can't really extend to do too many leaves if you don't use that much water because you are going to get that gritty canvas look as i did right through here so i'm just going over it a couple times fixing it up there we go i think we can go back and add to the top again now that we've established more detail down there accidentally touch the canvas you can see we can just make that into a little falling piece actually that's something i love let's do another one there we go i love the implication of wind and it can't we can't have too much wind because we have uh fairly still water but that's okay that looks really nice now we're working very closely for quite some time so i thought we'd take a step back work a bit farther away and i'd also show you that we're moving all of these back into this area as well so for this you probably want to take quite a bit of thick paint not necessarily a lot of watered down paint and go back in leave darker areas we're not trying to cover the entirety of it it's very similar to what we did out here we're creating little patches and little extensions and as we continue to progress while we don't want much water because we do need this to stand out amongst that dark background we can use slightly more water as you move towards that left hand side that way it naturally works its way back into the shadows try not to do the same technique over and over again and remember the best way of doing that is to not hold your brush like this but to hold your brush like this now you probably can't even see my hand definitely more loose yeah that's a that's a really nice just movement that naturally occurred there love to see it i love painting foliage though this is honestly so much fun we put a massive amount of work into it and it's kind of one of those rewarding steps where it's really hard to mess up at this point we really know what we're doing in terms of movements and it really is just the fun of applying paint and watching it come together very naturally running out of paint but i have a watery brush that's nice it's also worth noting that this isn't our final layer of highlight and i i'm kind of apprehensive about using the term highlight because it isn't bright and it's not going to be bright but it's bright in relation to what we've previously applied we are building up light we are going to the third layer which is typically the highlight so within the context of the subject it's a highlight but it isn't bright nor is it going to be bright and that's important the light is coming from behind this tree what we are looking at is the shadow and that is looking really nice i think before i dive into that area i'm going to take a five minute break and it's something i implore all of you to do but really go over your painting are there areas that need more or less detail is there a certain technique that you are not implying that you want to is there a certain movement are you doing too much of one thing try to figure that out and while you do make sure you get a little bit of water maybe have a bite to eat i know that i can paint for like six seven hours straight just completely forgetting um so make sure that you stay on top of that it's important to stay healthy while you're working on your art and with that we'll be right back to it so we've been doing a fairly similar technique throughout the majority of this and it's time for a little bit of a change we have these extending for the most part but i also want inset little leaves that are essentially draping down so we're going to start that right now they're going to be moving predominantly vertically with a little bit of an angle to them here you can see we're doing quite a few they're really tiny in comparison to what we've been doing up there but we wanted to blend seamlessly into what we were doing so i'm going to move some of them into those previous applications creating them in clusters for the most part so that we have those open darker areas showing the shadow and some form of repetition while not making it all too visually samey i also don't want to be afraid of working over top our grass down here we are going to have this extending right down to about that portion so there's still a little bit of space between the very bottom of the land but it's going quite nicely there we go so far so good grab a bit more and we'll work that up a little bit too so we're getting this different dimension these are small but they're facing out that way so we can see the sides of them these are facing more towards us so we see the front of them and we don't see that longer spine which allows us to make the markings smaller again it's not those lessons really are aren't meant to just be do this this is why we're doing this there's reason behind it and it is important so you can incorporate it in your future pieces so as i'm really on this left hand side going in with these taps leaving openings and of course occasionally blending it into our other areas going back making a couple of them more thick a little bit bigger just because we don't want all of them to be the exact same size there we go and i cannot wait to show you what this looks like when we add on the next layers it's really going to come together there we are add a couple more throughout that's lovely i really like that now we want something a little bit brighter so we're going to take our sap green titanium white and about an equal mixture of mars black and work on something a little bit brighter for those highlights so a little more titanium white will increase the saturation with more sap green yet again more titanium white and that is far from bright but as you can see it is brighter than what we've been working with and i think i'm actually really happy with it so we'll mix up a little bit more and then from there we'll head back to the canvas so now we'll switch over to our smaller liner brush and we'll grab some of that newly mixed pigment we're going to begin on the right hand side of our foliage and we'll start working in some of these very slight highlights and it's going to look a lot darker here on the canvas than it does on our palette simply because it's going to be semi-transparent and we're going to see all of the darker mixtures showing through so if you want to be quite a bit more noticeable you'll need to make it quite a bit brighter but i'm actually really happy with this just throwing in some nice little highlights and i can show you in this darker area what it looks like but the technique is exactly the same as what we've been doing for the foliage and i wanted to show it to you initially from a distance just so you can see how subtle this really is it's barely noticeable i'll get you right up close in just a second but we also want to ensure that there are some mixed in with all of these protruding pieces as well so have some small little break off pieces in these larger clusters will incorporate some i'm really trying to jump around a lot so that it doesn't feel like it only exists within a singular area that said as noted let's get you a little bit closer so you can see the variance up close so yet again grab a little bit more paint come towards one of these edges there's a nice little edge behind some of the openings and the openings are great for this because you essentially have a little bit of light moving right through them so the edging should be a bit brighter and then i'll also work that again throughout here it's very subtle but certainly a nice addition you can even overlap it over the darker portions to show that there are multiple layers and levels of foliage create some extra depth now it doesn't really get all that bright in the reference photo so i don't want to do too too much of it but we can have a couple areas that kind of protrude and catch more light so we'll have one there have a little bit down there and if you accidentally do too much don't worry about it at all it's as easy as going over it with the initial pigment that we were working with so you can get exploratory you can have fun with it always get asked the question how do you know when you're done with the painting and i personally like to overdo everything just a little bit and then i walk it back that way i've seen it when it's had too little and i've seen it when it's had too much then i find that nice sweet spot in the middle and i go from there that said this really isn't the last thing we'll be doing with the painting but it's a good general idea to incorporate when working on this section because it really is something that we could do for a longer period of time so a lot of little intricacies that we have the option to do adding lots of additional leaves in there it's also worth noting this was fairly open initially just so that i had room to add more of these if i wanted to and i'm really glad that we didn't kind of overdo it previously grab a bit more there we go it's looking quite nice let's get you a little bit farther down and we'll continue with a similar technique so now we're going to continue but remember as we get farther out this way rather than the foliage being front-facing it moves outwards right so we need to consider essentially the spines of a lot of the branches how the foliage is going to be moving because it's not rendered as simply as what we do up here there's a bit more thought that goes into it so i'm going to look for those edges make sure that we do a good job on those make sure that they're nice and sharp but i'm also going to do little trails that lead back in this way we're not going to do too much of it because we do want it to still be fairly subtle but i think it'll be a nice little addition help us wrap some light around our subject and that's really what's happening we have the light it's working its way around it's slowly dissipating as we get towards the left hand side going over some of these applications numerous times because i am working with a fairly watery mixture and i do want these to be relatively thick there we go definitely getting there and we can either make it more watery or just a little bit darker as you move this way i'm also going to start moving with more of these vertical leaves as you get towards the center because they'll actually be facing us rather than the side and that one's very thin don't have much paint left on my brush once you're done this will also head down and work on that area and do some extra details in the water just to sure it looks nice and reflective but also that it works well with everything else that said every episode like to say a big thank you to you for being here for being a part of the community watching along i know that we are on part two so quite a few hours in i know that if you've made it this far you are invested you are ready to go out do some great work if you haven't already and i just love that we have a real community that's committed to keep traditional art alive i love digital art i've been playing around with that quite a bit lately actually but i really love that this is something that's still important so special to a lot of us and with that here you can see i'm going back down into this spot adding in some additional highlights i don't really want to do any on this side want to keep it more so over there and have it slowly dissipate as we work our way to that side i'm trying to remember to do the mirror as well so i'm not just doing the top but i'm also trying to go back in and get the bottom and again we're not going too bright we're just going slightly brighter than what we had there we go and building it up so that it's nice and full there we are we'll also put a little bit of a separation between these but i need a clean brush clean water and a different set of colors so we'll do that in a little bit but right now it's just about cleaning up this little spot maybe adding a little bit of a highlight to this blade of grass and its reflection really like that one how it works its way up kind of has a little bit of a break falls back down it's definitely unique and that's what we're looking for in these areas yeah also a little bit of extra highlight into there just build it up on those edges you can see that it gets a little bit brighter every time because we're working a slightly brighter pigment on top of a brighter pigment rather than on top of almost a black so far so good i think we're just about ready for the next step now with a clean brush and water we're going to start working on the separation between the grass here and the reflection of it i'm going to be going in with that smaller little liner brush we'll make sure it's nice and damp and we've added a little bit of that ultramarine blue back to our palette so we'll grab just a hint of that move that off to a clean spot we'll grab quite a bit of titanium white and i'm grabbing from an area which hasn't yet been used down here we have a lot of green we don't want to risk diluting it and then we'll also grab just a hint of mars black we want a fairly grayed blue we don't want it to be too bright and then we're going to take our little pinky finger brace it on the canvas of the easel we'll find an area where it separates and we'll just do a little bit of movement in that water i'm not doing a straight line i'm allowing it to break apart i'm having it get lost between some portions of the grass because some of them are going to be in front still right it's not all going to be perfectly aligned some of it's going to be a bit farther you know farther back closer towards us and we do need to take that into account that said i'll get you a little bit closer so you can really see the detail so yet again moving towards this edge i'm moving upwards essentially in this diagonal direction and i can see that there's a little bit of grass moving in here and then out so i try to separate that as they are directly touching i'm going to move it out here as well create a slight separation throughout those but what we really want to focus on is this area in here and you're probably going to have to go over it a couple of times you do want these markings to be fairly opaque while not being bright so we'll just pick our favorites sometimes you can see i'm just dotting on little highlights in the water and then we'll start to open it up a bit more and then we'll stop it about there now you can probably see that not all of these actually end where they're supposed to sometimes they right here notably it goes to here and then it comes down so that's something i'll just need to go back in with a little bit of a darker pigment and fix take that out but for the most part this is how you want to do it there will be little touch-ups but they're generally little touch-ups everywhere anyway then we can take this we can move some of these little highlights out and this is going to look nice because it's going to differentiate between the top and the bottom i'm not going to do too much of it but just enough to note that this is in fact water i think it looks really nice despite the fact that not all the grass is lined up yet i think it's a really good addition and we'll just make some of it a little bit more thick yet again have it work out there we go so i wanted to show you what it looked like from a bit of a distance before we started to rework in that area and again i think that that is a massive addition it's really great though it's time to fix up the grass and we'll do that by taking the same brush grab some of our mars black some of our sap green little bit of that titanium white and i'm grabbing from the front of my titanium white because that back area is now reserved for blue mixtures we are going to need more mars black we need this to be essentially as dark as that initial base layer so hints of green hints of titanium white but for the most part just very dark pigment and then we can go back in here and anything that doesn't really line up properly we can take that out just eliminate any inconsistencies or issues in essentially just where the grass lands nice and easy fix nothing to worry about and again that's what's so wonderful about acrylics they're just so forgiving if you have an issue you can wait 5-10 minutes let it dry come back and work on it but from there we're going to start working on the branches that we have up in this area so yet again get you a little bit closer now we're going to start working on the tree branches and we're going to do so by grabbing an equal mixture of our titanium white and our mars black we want this tree branch to be in the shadows so we also want to make it a bit of a cooler pigment we'll grab about a fourth of our ultramarine blue in relation to everything else make it nice and cool and i think this will be a great pigment to start with not too bright but certainly brighter than the darker shadows that we've rendered previously in the foliage so typically we want to start working in the open areas that we have in our foliage however we can definitely create more open areas by just going back to darker pigments so don't worry about that too much if you feel inspired to have the tree work in a different way than what's already available so here i'm going to start with a little bit of a line i'm not making it a continuous line though i'm doing lots of little taps throughout this that way the tree has a nice character to it we'll create a little spin-off piece and that works out there and then we'll create another one that gets lost behind some of this foliage now it's going to be very simple in the beginning and it's not going to get too complicated because you really don't need the eye being drawn all the way into here but we're going to grab a little bit of extra mars black move that off to the side grab some of the pigment we are currently working with so we have a darker mixture and we'll just work that right behind doing a little bit of a blend with the highlight we just added and this can overlap some of the greenery again if you feel like you want to change where the greenery and where your branches are we can also use that newly darker pigment to extend out into some of the other foliage going on top of some but also going behind others i'll just work it in between some of these openings it's very subtle but that is exactly what it is meant to be so we'll go back we'll grab a bit more highlight we'll work that into the areas that we know we want to be visually prominent and by going back and doing a second layer we make it a little bit brighter because of course the initial layer was very dark because the backing was showing through so every time we add more of that lighter gray the brighter it gets we can also grab hit more titanium white make it even brighter than it was and i'm going to be very very sparing with this but i will tap on a little bit of texture here i'm not going down the entirety of the tree i'm just picking a couple particular spots occasionally i'll do a little tap on the inside so it's wrapping around the light it's wrapping around there isn't much light but we're getting that wraparound effect then there's a protruding piece it's catching light and so it also gets a little bit of that highlight there we go we can also add this to some of the smaller branches that we've previously incorporated grab more of that middle pigment and i think i want branch to go right through here it's going to mean covering up some of our foliage but that's okay we did count on doing that grab a bit more mars black work that into the mid and then we'll just bring that down now we need a bit of the highlight you can tell that it's all starting to go a bit quicker i've had some practice know what we're doing we have a general idea of where our subjects are going there we go that looks nice and again we don't want to overdo it so i think i want a branch right up here but a smaller one yeah something subtle like that maybe another one and it works its way through there connects up into this area i really like how we have two general movements with a little bit of space in between breaking them apart there we go so stepping back i think things are looking really good and it is finally time for my favorite part of all of these painting lessons and that that is touch-ups so we are going to begin by looking at this beautiful reflection that we have here and i want there to be more openings in the foliage so that it shows through with that in mind we are going to remix some of the blue that we did in the past lesson it's not going to be too bright it's not going to be too saturated really just mixing to what we once had at this point though that was you know about a week ago so i'm going to give this a try do a little test just a tap to see if it's close or not it needs to be a bit brighter more titanium white and i think the end mix is probably about 1 4 mars black to quite a bit of titanium white and then maybe about 2 4 ultramarine blue we'll just go in and that's perfect so create a couple little openings here not too many but now you feel like it really expands all the way through there and we can even touch up the other side if we want to just have a little bit more water working through that reflection just to note that it is in factor reflection we can also make it a little bit darker add some extra mars black but that will desaturate it quite a bit so also add in some of our blue that looks pretty nice we can go back up and we can add some openings for the clouds showing through as well or just work it around one of our branches i know it's quite far away but at this point you really do want the majority of your touch-ups to be done from a bit of a distance that way it's about bringing the piece together rather than really accentuating a certain piece of it now the sky is a bit brighter than the clouds so yet again i'm going to make this brighter just kind of jumping back and forth between our mixtures i think that looks fairly close to what we have in our sky and we can start creating those openings we already have quite a few but we want to create them in different sizes different areas different shapes and these are really going to add a lot of realism to the piece it's something where you know we had some before we actively worked around portions of the sky however we can only do so much because we didn't want to add too much detail too early on now that we're fairly far into the painting we have some opportunity here to really have fun with it that's why the final five ten percent is always just so much fun they're all these little things that you want to do but you know you should wait to see how everything else turns out so i like that so far maybe i'll create a larger one right in here i think that worked out well i'm going to grab a bit of extra water you can tell my brush is starting to get dry want these markings to be sharp they are our final markings so that is important spending quite a bit of time here i'm even defining some branches so now the one that moves right through there is a bit more notable because i took out some of the foliage that surrounds it so you can go back in and kind of rework other forms using these techniques okay we have quite a few openings there quite a few openings there and then it really gets to be a nice collection up here but this area is a little sparse and we don't need to make it completely even in fact we don't want to but we can definitely add in one or two little openings there yeah just fix that one up that's looking really nice and by the way when you go in and you add these little openings sometimes you'll have to go over it a couple of times just because you are working on really dark pigment and that is going to show through to an extent but so far so good and now i think i'll go back in and add some extra foliage just continue layering that you can either add highlights or more shadowy pigments i'm going to grab some of my sap green grab about half that titanium white half that mars black didn't get half that there we go we'll add a little bit of blue because it is in the shadows maybe about one-fifth and i think that's too saturated really for what we have so we'll go back add a little bit more titanium white and mars black that's really the beauty of having all these colors still in the palette you get to compare and contrast as you go and now i'm going to do a couple more subtle leaves this isn't quite as bright as what we have over to the right hand side but it'll be a nice little tapped-on effect in the areas that are still really open and could use some extra detail i'm going to take a step back and i think we'll hold the brush again like this so we get a bit more of a randomized look to it with that said as you can see we are coming towards the end here so as per usual thank you for being a part of this journey i think that this is a very fun a very successful first endeavor into real realism right we've dabbled with it on the channel and i don't think anything's ever too far off from it but we definitely take a lot of artistic liberties and with this one we really opted to create something that looks very natural and it's definitely something we're going to continue here on the channel i've wanted to build up to this for a couple of years now actually but when i tried it i think back in 2018 i had a lot of feedback that people just weren't ready that we wanted to build up to it over time and i thought that was really understandable you know we built a fairly large base here with the 10-minute paintings which were aimed at beginners and really just getting you started but you know then we moved into the hour-long lessons and then the hour-long lessons which were actually um you know two three sometimes four hours and things just progressively got more and more detailed now i feel like we're really working at a great level and i'm really excited to finally start doing some real realism but yeah this uh is obviously only happened because of the incredible community support over the years building us up to this and you know as always big thank you big thank you for being here big thank you for being a part of the community big thank you to the patrons for getting us here and keeping us going i uh i i always i i feel like it's always two things i want to say it a hundred times in a lesson because it means a lot to me but i also don't want to annoy everybody you know so there's a there's a balance but know that i'm incredibly grateful and i really do hope that the traceable and reference photo uh you found them quite useful in this i know that i did quite a bit of color matching and there's a there's a lot of detail in that guy but yeah you don't need to use the trace boards you don't need to use the reference photos don't ever feel like they are something you absolutely have to use they're really just meant to be aids to help you along with the painting journey if you feel it's something you'd like to work with and again up over on patreon for those of you who are new you can also get access to all of the ebooks including acrylics for beginners essentially teaches you the essentials everything you need to know before we jump into these we're a bunch of ebooks full of trace boards we have our private facebook group which you can gain access to which is fun because everybody's working on pretty similar pieces and you get to see different techniques and results and we also have a bunch of bonus videos some really large series actually on there working on 24 by 36 inch canvases again a bit more surreal or at least done with more artistic liberties but i think we'll probably end up doing another really big one at some point with again true realism but yeah i'm i'm really excited hey this this gets me really just looking forward to the future here on the channel with what we're doing i think there's so much potential now that we're open to painting with this much detail i think we're going to create some wonderful things here together here i'm also going back by the way and just adding in more graphs but also fixing up adding highlights maybe making areas darker so many little things that can always be done in these lessons i really love it also as per usual at the end of these i like to give you a little code word little keyword that you can use in the comments just as a little badge of honor a a humble one you know nobody except the people who get here will know what it's for but i myself and everybody else who gets to the end of the lesson will know that it's a sign that you made it to the end you were one of the dedicated few i believe only uh 13 on average of people who said these lessons actually end up making it to the end so if you are one of those 13 you can leave a comment and we need to come up with a word something that isn't too odd to the point where it'll be obvious but something that will be immediately notable so when we step back when you look at the painting what do we think about i think summer days i think of summer days i think of growing up i think of going for walks camping trips with my friends and seeing things like that so code word or rather words i suppose will be summer days i think that'll be great but with that there really isn't much else to do i don't want to overdo anything i don't want to take too many artistic liberties i want to leave it looking really natural here at the end so with that i want to say a big thank you for being here being a part of this journey i will see you very soon with a brand new painting lesson thank you to everybody who supports the channel up over on patreon thank you to everybody who's just here being a part of the community engaging in the comments sharing the videos you have no idea how much help sharing the videos does for the channel it really makes an impact so to all of you here to all of you who um you know evangelize the channel thank you it's been an absolute pleasure i will see you soon and above all as always stay creative [Music] you

Channel: Stay Creative Painting with Ryan O'Rourke

Views: 248,552

Rating: 4.8696742 out of 5

Keywords: how to paint, acrylic, lesson, tutorial, paint with ryan, stay creative painting, water, forest, summer, calm, relaxing, trees, grass, reflection, river, lake, acrylic painting, realism, realistic, draw, sketch, painting landscapes for beginners, how to, artwork, landscape, step by step, learn to paint, painting tutorial, leaves, bob ross, art, real time painting, hyperrealism, hyperreal, ACRYLIC, LANDSCAPE, acrylic paint, acyrlic

Id: UCXu2TLCKUA

Length: 175min 13sec (10513 seconds)

Published: Sun May 09 2021